{"id":3917,"date":"2015-11-05T14:40:50","date_gmt":"2015-11-05T14:40:50","guid":{"rendered":"http:\/\/ricardoreisdasilva.org\/hangar\/en\/?p=3917"},"modified":"2022-10-02T12:11:26","modified_gmt":"2022-10-02T11:11:26","slug":"faisal-abdulalah","status":"publish","type":"post","link":"http:\/\/hangar.com.pt\/en\/faisal-abdulalah\/","title":{"rendered":"FAISAL ABDUL\u2019ALAH"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

\u2018LIVE SALON\u2019 de FAISAL ABDUL\u2019ALLAH \u2014\u00a0Performance |\u00a05 de Novembro | 18h
\nARTE E COMUNIDADE \u2014\u00a0Masterclass |\u00a07 de novembro | 19h30<\/p>\n

Colabora\u00e7\u00e3o: Edson Alexander Muzikaname
\n
\nTAYOB J (Dj Set)<\/span><\/p>\n

The art of Abdu\u2019Allah and his contemporaries in the early 1980s can be evaluated in a manner that fills an important void within available scholarship on the subject of contemporary art in relation to Afro-British culture. What began as an artistic gesture in the 1980s more fully materialised in the early twenty-first century as a complete conceptual approach that questioned issues of race and identity in relation to issues of cultural diversity and multiculturalism. Abdu\u2019Allah\u2019s work broke away from the British artistic establishment and the rules of institutional representation, particularly insofar as he began selecting his subjects from \u00e9migr\u00e9 utopia, Afro-British social consciousness, Muslim identity, and working-class life. He also integrated other views of London, portraying it as a city of dislocated communities that were powerless in the existing world of art.<\/p>\n

[\/vc_column_text][vc_separator][vc_column_text]Scientific coordination and organized by M\u00f3nica de Miranda
\nThis project is part of the project \u00a0Post-Archive<\/a>:\u00a0Politics of Memory, Place and Identity, CITCOM-CEC-FLUL
\nThis project was produced with national funding from the FCT-Funda\u00e7\u00e3o para a Ci\u00eancia e a Tecnologia, I.P. under the project UIDB\/00509\/2020.[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

5 \u2013 7 November<\/p>\n","protected":false},"author":8,"featured_media":3285,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[165,184],"tags":[245,286],"class_list":["post-3917","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","category-post-archive","tag-2015-en","tag-previous"],"_links":{"self":[{"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts\/3917","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/comments?post=3917"}],"version-history":[{"count":1,"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts\/3917\/revisions"}],"predecessor-version":[{"id":19914,"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts\/3917\/revisions\/19914"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/media\/3285"}],"wp:attachment":[{"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/media?parent=3917"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/categories?post=3917"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/tags?post=3917"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}